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Opening the Can: Public Interaction with Ready-MadeContents
Shlomo Dubnov, Philippe Codognet
To cite this version:Shlomo Dubnov, Philippe Codognet. Opening the Can: Public Interaction with Ready-Made Con-tents. Second IFIP TC 14 Entertainment Computing Symposium (ECS) / Held as Part of WorldComputer Congress (WCC), Sep 2010, Brisbane, Australia. pp.179-189, �10.1007/978-3-642-15214-6_18�. �hal-01056344�
Opening the can:
public interaction with ready-made contents
Shlomo Dubnov1, Philippe Codognet
2
1 Music Department,
University of California in San Diego
La Jolla, CA, USA
[email protected] 2 CNRS / UPMC/ University of Tokyo
JFLI, Information Technology Center,
2-11-16 Yayoi, Bunkyo-ku
113-8658 Tokyo, Japan
Abstract. We present a system for public interaction during presentations of
non-interactive readymade (canned) materials such as films or pre-composed
performances. Using concepts of user back-channeling, moderator and shared
canvas, the system allows a significant part of an art piece that is actually
happing “in the heads” of the audience to be shared in parallel or in sequential
manner with the main show. We also briefly present the historical background
of the blind manipulation of symbols (canned contents) and argue that a new
cognitive paradigm is at work with user interaction in computer-based
entertainment and digital art.
1 Introduction
Most of the contents on the web are not interactive. Videos, music, images and other
media are abundantly produced by professionals and amateurs and put on the web as
readymade contents that express their creators' own voices. Even though most of
these contents are available for reuse under various kinds of fair use licenses, only a
small fraction of it indeed finds its way into other productions. User interaction with
such contents is usually limited to search or recommendation of related contents and
textual commenting. Even then, the sometimes dubious quality of recommendations
and the shallow comments leave most of the contents unaltered in terms of how much
a user can learn or benefit from other people impressions or from the activity that the
surrounds the original creator's readymade idea. In this paper we are interested in
exploring the question of reusing these readymade contents by turning them into a
focal element of a larger production such as placing them in an interactive system that
combines fixed contents with user interaction, creating a framework that actually
encourages more active and sustainable user engagement. Using the term of "canned
contents" to denote these readymade media, we consider ways of creating open
systems that provide some combination of interoperability, portability and open
standards for applying these artifacts to creation of new cultural experiences. This
also bears resemblance to open system of learning, where information is sourced from
multiple sources to promote active learning that focuses the responsibility of learning
on learners. There are several models of instruction that promoting discovery learning
by encouraging learners to be engaged during learning and cognitively active.
In applying these ideas to entertainment in general and the arts and music in particular
we face with several unique problems. On practical level there is a certain amount of
professionalism, both in terms of the technical skills and artistic expression that is
required for producing such contents that might be prohibitive to most of the users.
One cannot expect large audiences to exhibit the same amount of control and
awareness of the impact of media manipulations as someone who had the time and
possibility to perfect those details. Moreover, we want to open the readymade
contents to include expressions by audiences that might result in shift of attention
from the contents themselves to what other audiences think about them. This shift
towards social media is current with the burgeoning trend to segment the fans base for
artistic creation into smaller groups rather than maintain a central sense of accepted
quality and an overall established taste. But rather then considering practicalities, we
would like to draw the reader’s attention also to the broader questions of the
significance and cultural role of public interaction with canned contents. We will
show that interaction through commentary and other exegetic practices puts the
audience in the role of “significance givers”, a practice that had been already a
dominant force in shaping cultural and religious thought in early scholastic practices.
2 The Binary Computer and “Blind Thought”
The current success of the computer as a universal information-processing machine
essentially lies in the fact that there exists a universal language in which many
different kinds of information (text, images, music, videos, etc) could be encoded and
that this language could be fully mechanized. Computers are artifacts aimed at storing
and manipulating information encoded in various ways, information being basically
anything that could be algorithmically generated. In 1697, the German philosopher
and mathematician G. W. Leibniz invented binary notation and considered his
discovery to be imago creationis, that is, at the image of the Creation, see [3] for
details. He used the motto unus ex nihilo omnia : “from nothing, the One creates
everything”… Indeed, with the numbers zero and one only, all others could be
constructed and therefore the whole universe of numbers, in the same way as, in
Christian theology, God created the world from nothingness. This idea is perfectly at
work in current computer entertainment systems and videogames, where complex
virtual universes are built from simple (but long) strings of 0’s and 1’s. Therefore,
digital computer technologies have been able to digest the whole world little by little,
dimension after dimension, reifying indeed Leibniz’ dream. Binary notation thus
became the Universal Language to describe non only the linearity of numbers and
texts, but also the flatland of images and, moreover, virtual environments in 3D.
The power of the computer lies in its ability to blindly manipulate symbols
representing any encoded information; information that will be transmitted,
reinterpreted and decoded later to become humanly intelligible. Indeed, this idea of
performing, within a given symbol system, operations on symbolic objects in a purely
syntactical manner, without reference to their usual meaning or modus operandi (for
instance because their meaning is unknown) has also been proposed by Leibniz in the
seventeenth century as the basis of combinatorics, and he named it the cogitatio
coeca, that is, “blind thought”. This reasoning process thus operates on atomic signs
(that could not be further interpreted), as in mathematical algebra when the resolution
of problem is conducted by a computation involving operations on symbolic variables
and arithmetic terms, without any idea of what the variables actually refer to (e.g. in
equation solving). Leibniz will use this paradigm in mathematics and combinatorial
systems as an ars inventendi (art of inventing), and for laying the grounds of modern
semiotic systems, but the roots of these concepts has to be dug out further back in the
ars magna (great art) of the Franciscan monk Ramon Llull (1232 - 1316).
Interestingly, some authors relate lullian systems to the Jewish Kabbalah, as the use of
combinatorics is at the core of several processes in the Kabbalah, for instance in the
ecstatic Kabbalah of Abraham Abulafia (1240-1291) [10]. Anyway, Llull’s ground-
breaking work was highly praised by many medieval and renaissance philosophers
and there was an abundance of lullian treaties written up to the seventeenth century, in
particular by Giordano Bruno (1548 – 1600) [12]. The importance Bruno gave to the
syntactic form of signs over the semantics is clearly stated in the De lampade
combinatoria lulliana (1586): “One should not pay attention to the properties of terms
but only to the fact that they define an order, a texture, an architecture” [8]. For
further details linking these pioneers to the birth of modern logic at the turn of the
20th century and, see [2].
3 Virtual Worlds, Interaction and Immersion
Computers are massively widespread in the contemporary society and are taking
major part in our everyday life. They are certainly, in a subtle but nevertheless very
concrete way, developing new cognitive abilities which open the public to a different
perspective on the world. Portable wireless handheld devices and GPS-enabled
smart objects let us foresee the so-called ubiquitous networking society that will soon
be ours, surrounding us with a data-gas of information-filled radio waves, a new eco-
system to be decoded and understood by digital machines only. However let us first
look at the last decade of the 20th century and the development of 3D virtual worlds,
which popularized computer entertainment and video games and express an important
paradigm shift, which is not without resonance with what was happening in
contemporary art at the same time.
From the forgotten pioneering work of Morton Heilig (1926-1997) who patented,
back in 1960, a device composed of two small TV monitors placed in front of one’s
eyes and Head Mounted Displays (HMDs), created at NASA in 1984 following the
original ideas of Ivan Sutherland back in 1968 to the CAVE systems [4], an
immersive system created by the EVL group at the University of Illinois in 1992, and
today’s advanced systems incorporating haptic devices, Virtual Reality technologies
are getting closer and closer to the fantasy dream of the “Ultimate Display” [15]. The
scientific experiments or artistic installations developed by using immersive 3D
technology compel the spectator to enter within a simulated world instead of just
watching it from the outside, as a mere series of photographs, a predefined movie or
even a monitor display. On the small screen and in the domain of computer
entertainment, the revolution of 3D games with a first-person point of view and
subjective camera happened at the same period, with games such as Wolfenstein 3D
(1992) and the magnificent Doom (1993). Despite an incredibly simple scenario
(« hunt-and-kill ») and rudimentary graphics, the immersive effect was totally
operational, maybe even too much for certain people, as the gamer was totally
engaged - mentally if not physically - in the virtual universe. Then some innovative
game design tricks appeared which would further enhance immersion, in particular
the possibility to not only wander in the virtual space but also to interact and use
objects. This was introduced by Half-Life (1998) through the use of the « E » key of
the keyboard: by using this key and pointing on certain objects, the gamer could
trigger some predefined action, such as calling an elevator, opening a valve, or even
drive a railways bucket. This “manipulability” of the world, although extremely
simple as each object contained its own teleology, induced nevertheless a deep feeling
of immersion and of coherence in the virtual world. This was further achieved in
games like the superb Metal Gear Solid (1999) and Deus Ex (2000) where clicking
on an object could lead to some complex manipulation : virtual computers could
connect to Internet and let you read your email (or hack someone else’s) and virtual
cash could be drown from ATMs … Thanks to the increasing power of CPUs and
GPUs, such interactivity has been vastly improved nowadays, with games
incorporating impressive physics-based simulation engines making it possible to
manipulate and use objects in a very realistic manner, cf. e.g. Half-life 2 (2004) or
Metal Gear Solid 4 (2008).
Interestingly, immersive virtual worlds and 3D RFPS games amount to a shift from
the cartographic paradigm, found for instance in board games such as Go, Chess or
so-called God-games (Sim City, the Sims, Back and White, etc) to enter the
ichnographic paradigm, that is, based on the notion of path. We move away from
the metaphor of the map to the metaphor or the path, we move from the third person
point of view (God’s eye) to the first-person point of view (our eye). As Morpheus
said to Neo in the blockbuster movie The Matrix (1999), “There is a difference
between knowing the path and walking the path”. We are thus leaving, in the virtual
experience and exploration of an unknown artificial world, the Cartesian paradigm of
the Euclidean, homogeneous and objective space in which points could be described
in an allo-centric manner by coordinates (x, y, z) for a new paradigm of a more
constructive, ego-centric, and indeed subjective space. This is somehow backtracking
to the ideas of the French mathematician Henri Poincare, founder of modern
topology, who considered that a point in space should be described by the
transformation that has to be applied to reach it. Hence space is represented as a set of
situated actions. No one knows the totality of the map; no one can picture or order the
territory in any comprehensive way, even abstractly. The complexity of the structure
(“graph” to follow the word of Michel Serres, “rhizome” for Deleuze, or “network” in
the contemporary terminology) cannot be conceptually apprehended nor depicted. It is
worth noticing that, by moving from a 2D to a 3D model, some information is in
some way lost. Lost first is the idea of a comprehensive, full-blown representation –
such as in the map. This is precisely what happens also with the Word Wide Web: no
one is able to draw the whole map of the Web, maybe only can we store it on an army
of data centers … We can only explore the Web by following paths, references from
one location to another and performing actions, which will open to new paths and
possibilities, and so on so forth …
4 Active Cognition
A key point in immersive environments and computer entertainment is the place of
the spectator into the system and not outside, as can be found in normal computer-
human interaction. The ability of games to lead to deep integration of the player into
the gameplay and to therefore amount to cognitive immersion, by letting him perform
intuitive and meaningful actions, is certainly the main novelty of this genre. In the
paradigm of the interface, interaction has often been considered as a necessarily
reduced and incomplete dialogue between the human and the machine, as a means of
access that will always be frustrating since it is always limited and imperfect.
Immersive virtual environments and now pervasive technologies are doing their
utmost to devise interfaces that are more or less natural to allow for an improved
interaction with the digital systems. However, one should not forget that immersion is
cognitive before being perceptive, the virtual “reality” is clearly being re-invented and
re-created by the viewer and not just perceived and undergone. As Marcel Duchamp
put it in 1914, referring to his well-known Readymade artworks : “the viewers make
the artwork” (in French: « Ce sont les regardeurs qui font l’oeuvre ») [7]. By
performing actions in a virtual world, or by interpreting (i.e. creating the meaning of)
a conceptual artwork, we are engaged in active cognition: we learn by doing. In the
cognitive philosophy of [11,16], one key idea is the contingency of cognition: “living
systems are cognitive systems, and living as a process is a process of cognition.” [10].
Varela proposed the concept of enaction: in the enactive paradigm, the subject is
always conceived as situated and interacting with his environment. Cognition is thus
inseparable from the experience of the world, cognition is conceived as an embodied
action. We should also remember, in the same line of thought, the words of the
cybernetics pioneer Heinz von Foerster: “If you desire to see, learn how to act” [17].
For him, “perceiving is making” and all perception is therefore created by the
subject’s action upon his environment; perception is active. Experiments have shown
that sensory organs (in animals and humans) can be trained to better perceive
expected signals before the brain considers them. Therefore, by analogy, it would not
be unreasonable to think that a key issue in understanding experiences in virtual
worlds would be the ability to perform actions and observe their consequences in
order to learn the rules governing the artificial environment – maybe simply by trial
and error. This is obviously easier to do in a virtual world than in the real one, and
this cognitive process is therefore put to use in many computer games and now
intuitively performed by video-game-educated kids. It might be possible that this
ability to develop cognition by action is indeed gradually replacing the more
classical humanist tradition of learning by books and letters.
5 Exegeses and the Role of a Commentator
In his 1945 article [1], Vannevar Bush described a futuristic device “in which an
individual stores all his books, records, and communications, and which is
mechanized so that it may be consulted with exceeding speed and flexibility... When
the user is building a trail, he names it, inserts the name in his code book, and taps it
out on his keyboard. Before him are the two items to be joined, projected onto
adjacent viewing positions. At the bottom of each there are a number of blank code
spaces, and a pointer is set to indicate one of these on each item. The user taps a
single key, and the items are permanently joined". The interesting thing about this
device is that Bush envisioned a mechanistic method of combining memory trails that
only requires a single click. The enactment is limited to some earlier recording of data
into the computer that is personally meaningful, while the operation of extracting or
creating new meaning is assumed to arise from manipulation of the syntactic form
that this data bears, which could be “blindly” handled by a machine. With the advance
of pattern matching and machine learning technologies, indeed some progress was
made in terms of automatic recombination of cultural artifacts, such as imitation of a
personal musical style through Leibnizian-like combinatorics [5]. The advance of
artificial intelligence technology actually extended the concept of atomic signs to
codebooks of arbitrary size that could be dynamically acquired from observing
redundancies and collecting statistics from prerecorded digital artifacts. This
mechanical recombination symbolizes the step of moving beyond replication of real
life environments through virtual representations of physical objects, to representation
of semantics that is encoded through some careful parsing of the same universal
binary representation, but now relative to a specific domain, personal memory trail or
statistically derived code book.
The act of joining two or more data records into a combined meaningful whole
puts an exegetic pressure on the process of combining this data. In early religious
traditions we witness the need for reconciliatory techniques that arose from the need
to harmonize collections of conflicting canonical texts, generating abstract pantheons
of gods, monotheistic deities or cosmological principles. Over many centuries Neo-
Platonic, Neo-Confucian, Vedic and Talmudic traditions employed commentarial
techniques to show unity in disjoint collections of texts, with increasingly complex
and hierarchical visions of reality being constructed through hermeneutical
approaches to scripture. Moreover, it is claimed that exegetical techniques are largely
culturally invariant, with differences of producing monotheistic deities or linear time
versus metaphysical principles or cyclical models of time being dependent on the text
they were operating on [9].
6 The Opera of Meaning
The idea of opera of meaning (OoM) is combining the syntactic, “blind”
manipulations of the universal binary language of the readymade presentation with
enactment of a viewer / user, whose actions serve to validate the cognitive relevance
of these digital artifacts. Implemented on the web, OoM employs a variety of
exegetic techniques to direct a group of viewers in synchronized or semi-
synchronized way towards more active perception and cognizance of the meaning of
the “canned” story, while at the same time using the audience expressions to expand
the scope of the presentation contents. Designed originally as a format of presentation
of media contents, such as dramatic work, entertainment or lecture, it uses a
realization of a script to push to the viewers a collection of electronic objects for
interacting with the story meaning. Some of these object are created “on the fly”
based on structural analysis of the canned contents and/or analytics of the audience
inputs. As all art finally happens in the heads of the audience, the system allow to tap
at “the silent conversation” that follows any concert or show, which is an essential
element missed by a lot of interactive art. Through processes of linking, association,
abstraction, correlation, syncretic fusion and mashup, the semantic scope of the
presentation is constantly expanded and contracted, turning a passive viewing into a
dynamic scenario of negotiating and contextualizing the meaning of the canned
contents according to suggestions of the audience, controlled or orchestrated by a
moderator. Exegetic techniques employed in OoM included textual commenting and
threaded responses, voting through polls, ranking, image selection, linking and
searching, text analytics, sentiment and topic analysis, summarizing, visualization and
more. In principle, any web service that provides search, analytics and data mining,
can be included in the presentation and triggered from the script at an appropriate
moment. The results of these processes are then summarized and shared with the rest
of the audience in parallel with the main show.
The following figure shows the elements of OoM, which comprise of several
different modalities that keep evolving as we more scenarios to experiment with the
system are developed. The main elements in the system are the canned contents, the
audience back channel, the moderator function and the shared canvas. In the figure
below the presence of the “canned” contents is denoted as “presentation”. The
presentation can be a visual, audio or textural rendering of a story that the audiences
will perceive. This may be combined with a script that contains structural
representation of the story, such as metadata or other descriptors of the canned
elements. This information is essential in order to provide more knowledge to the
moderator function, as will be explained below, as well as to automate the push of
related contents and interactive widgets. In case this information is missing, automatic
analysis, such as media semantic processing can be applied to the presentation to try
to provide a model according to which the data from the users can be analyzed. For
instance, in an ongoing project we use correspondence analysis of the text of a screen-
play [12] to create a set of filters or rankings on audience comments “in the context”
of the story narrative. In another project [6], association of the user input to the story
line is proposed by creation of a metadata space in Mathematical Model of Meaning.
Once the relation between the audience input and the story are established, the
communication are bound to shared canvas through a moderator, whose role as an
information processing element is to negotiate and prioritize the display of user inputs,
possibly by compact visualization or some other summarization process. The
additional element of “artificial participant” suggests a possibility for a direct
mechanistic intervention of a computational process in the user back channel without
intervention of the moderator, as will be explained later.
Figure 1. System diagram describing the different OoM components
In terms of functional description, one of the central features of Opera of Meaning
is that the public can interact with related contents during the story presentation either
privately, or by sharing it with other audiences by posting to designate publicly
viewed display areas. The shared canvas provides a way for rendering the user
communication in the "back channel" in parallel to watching the main story. Using
associative search or semantic database management, additional contents that are
relevant to the main story are made available to the users. These contents can be
shared at predetermined times on private or shared canvas, depending on their
purpose and available screen real estate. It should be also noted that the audience can
not directly interact or modify the canned contents of the main presentation, except
for cases where a specific role for the shared canvas had been integrated in the design
of the main show. Examples of such integration could be use of shared canvas as a
back drop in theatrical presentation as part of the set design, or including debate and
media sharing episodes intermittently with the canned contents as part of a visual
montage, or using audience input to create the remix or collage on the fly, and so on.
Another central role is that of a moderator who “listens” to the input from the
presentation and the audience back channel and reports back its results on the shared
canvas display, in parallel or in sequence with the canned presentation. To give a
concrete example, the moderator can summarize the ongoing chat in the audience and
post it to the shared display as a tag cloud. Moderator can also create a tag cloud from
the text that accompanies the main presentation. In such a case the tag cloud
representation might combine both sources of information – that of the main story and
that from the audience. More sophisticated application that we currently explore are
automatic creation of web mashups that are derived from topic analysis of the back-
channel, through automatic search and keyword expansion “in context” of the
semantics of the canned presentation.
In many cases, asking the viewers to post a comment might be the most difficult
part in getting the discussion rolling. The role of the artificial participant is to “break
the ice” by providing an initial input regarding the canned contents. An important
distinction between the artificial participant and the moderator is that the moderator
“summarizes” the overall activity that goes on in the back channel and uses that to
alter or augment the presentation, while the artificial participant communicates
privately with audience members, either through textual comments or graphical
widgets, triggering responses and provoking participation.
An example of the screens and comments generated by OoM are given in Figure 2.
This is one of multiple pages that were running during a panel session in the Theater
Deparment in UCSD on activism in the arts. The central image represents a theatrical
group called “Guerilla Gilrs”, and it was brought up to demonstrate an example of
feminist art activism, embedded from the web after searching for contents related to
the topic of the main presentation [art activism, theatre, feminism]. The lower half of
the screen shows the audience chat on the right and a dynamic text cloud on the left.
Each one of the display elements comprises a separate object in the OoM system.
Figure 2. An example screen of OoM for an event regarding Art Activism
Other functions of the system include administrator functions for manual creation
of web pages of the related contents, tools for creating polls and a control panel for
arranging the different performance objects both in terms of their layout on the page
and timing their appearance in synch with the main show.
As last figure we present a photo of a deployment of such system in a live concert
situation. In this piece the deployment of the system was integrated with the design of
the projection space in such a way that the displays used for related contents and
shared canvas actually surrounded the audience creating an immersive experience.
The main presentation is the performance in the middle, while the audiences with
laptops interact with each other and with the system [13].
Figure 3. Use of OoM as a backdrop and immpersive environment in a mixed music and
media story telling show with audience participation
6 Conclusion
In this paper we presented a system for public interaction during presentations of non-
interactive readymade (canned) materials such as films or pre-composed
performances. Using concepts of user back-channeling, moderator and shared canvas,
the system allows a significant part of an art piece that is actually happing “in the
heads” of the audience to be shared in parallel or in sequential manner with the main
show. Sharing audience impressions not only contributes to the experience and
understanding of the work, but actually creates a new role for the viewer as a second
person “significance giver”. We discussed how this type of engagement changes the
role of the spectator from being either third or first person, or being either a passive
viewer or an direct operator of digital contents, into a second person role whose
operative is one of a establishing the meaning of an artwork through a process
negotiating with other viewers or addressing other associated contents. The setup
allows mixed attendance modes that combine first person interaction among attendees
directly or through a moderator, and a third person mode of viewing with regards to
the main story, with its associated freedom of imagination and deliberation. This
mixed operational mode has both advantages and disadvantages.
We also discussed the broader questions of the cultural role of public interaction with
canned contents and showed that interaction through commentary and other exegetic
techniques can become a dominant force in shaping cultural thought, such as the case
with religious thought in early scholastic practices. The name “Opera of Meaning” is
intended to emphasize the interplay of meanings and exchange of opinions that occur
during performance of a story. This approach is related to works that explore social
and educational roles of film and theater media, and is inspired by methods of debate
and commentary that are common in traditional religious studious situations, as
mentioned above.
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